42:
787:
However, this high level of freedom in sound design came at the price of a huge increase in the number of parameters required, meaning that the PAMS was not yet suitable for commercialization as an instrument that the average user could program. / In order to resolve this issue, the Yamaha developers decided to simplify the synth's tone generator design by having the modulator and carrier envelope generators share common parameters. They also reduced the number of algorithms—or operator combination patterns—to 32.
475:
545:, "The synthesizer market was tiny in the late 70s. No one was selling 50,000 of these things. It wasn't until the Yamaha DX7 came out that a company shipped 100,000-plus synths." Smith said the DX7 sold well as it was reasonably priced, had keyboard expression and 16 voices, and was better at emulating acoustic sounds than competing products. Chowning credited the success to the combination of his FM patent with Yamaha's chip technology.
2027:
433:
1869:
1115:
In 1967, John
Chowning, at Stanford University, accidentally discovered frequency modulation (FM) synthesis when experimenting with extreme vibrato effects in MUSIC-V. ... By 1971 he was able to use FM synthesis to synthesizer musical instrument sounds, and this technique was later used to create the
414:
was the world's largest manufacturer of musical instruments but had little market share in the United States. One of their chief engineers visited
Stanford to view the technology. According to Chowning, "In ten minutes he understood ... I guess Yamaha had already been working in the digital domain,
786:
on its top panel. / As its name suggests, the PAMS created sound based on various calculation algorithms—namely, phase modulation, amplitude modulation, additive synthesis, and frequency modulation (FM)—and from the very start, the prototype supported the storing of programs in memory.
522:
The DX7 was the first commercially successful digital synthesizer and remains one of the bestselling synthesizers in history. According to
Bristow, Yamaha had hoped to sell more than 20,000 units. Within a year, orders exceeded 150,000 units, and Yamaha had sold 200,000 units after three years.
579:
581:
601:
described its interface as "nearly impenetrable", with "operators, algorithms and unusual envelopes ... accessed through tedious menus and a diminutive display". Rather than create their own sounds, most users used the presets.
429:, was also interested, but met Chowning six months after Yamaha had agreed to the deal. Kakehashi later said Yamaha were the natural partners in the venture, as they had the resources to make FM synthesis commercially viable.
1614:
718:, throughout the mid-1980s, "Yamaha flooded the market with a plethora of low-cost FM synths." In 1987, Yamaha released the DX7II, which did not match the success of the DX7. Further successors included the
305:, California. FM synthesis created brighter, glassier sounds, and could better imitate acoustic sounds such as brass and bells. Yamaha licensed the technology to create the DX7, combining it with
696:. In later years, the DX sounds came to be seen as dated or clichéd, and interest in FM synthesis declined, with second-hand digital synthesizers selling for less than analog. The development of
458:
Yamaha displayed a prototype of the DX7 in 1982, branded the CSDX in reference to the Yamaha CS range of analog synthesizers. In late 1982, Dave
Bristow and Gary Leuenberger, experts on the
580:
451:
chips. These allowed the DX7 to use only two chips, compared to the GS1's 50. Yamaha also altered the implementation of the FM algorithms in the DX7 for efficiency and speed, producing a
1641:
553:
At the time of release, the DX7 was the first digital synthesizer most musicians had used. It was very different from the analog synthesizers that had dominated the market. According to
443:
Yamaha created the first hardware implementation of FM synthesis. The first commercial FM synthesizer was the Yamaha GS1, released in 1980, which was expensive to manufacture due to its
415:
so he knew exactly what I was saying." Yamaha licensed the technology for one year to determine its commercial viability, and in 1973 its organ division began developing a prototype FM
534:
synthesizers in 11 years, and could not meet demand. The FM patent was for years one of
Stanford's highest earning. Chowning received royalties for all of Yamaha's FM synthesizers.
1773:
774:
At that time, a number of Yamaha departments were developing different instruments in parallel, ... the direct forerunner of the DX Series synths was a test model known as the
761:
1147:
The first digital synthesizer to make it into the studios of everyone else, the Yamaha DX7, became one of the most commercially successful synthesizers of all time.
1867:, Tetsuo Nishimoto, "Electronic musical instrument capable of varying a tone synthesis operation algorithm", issued 1985-11-26, assigned to Yamaha
1258:
526:
The DX7 was the first synthesizer to sell more than 100,000 units. Yamaha manufactured units on a scale
American competitors could not match; by comparison,
1100:
490:, the digital DX7 sounds "harsh", "glassy" and "chilly", with a richer, brighter sound. Its presets constitute "struck" and "plucked" sounds with complex
559:, its "spiky" and "crystalline" sounds made it "the perfect antidote to a decade of analog waveforms". It was praised for its accuracy in reproducing
312:
With its complex menus and lack of conventional controls, few learned to program the DX7 in depth. However, its preset sounds became staples of 1980s
2148:
1702:
221:
216:
2153:
2143:
2082:
1193:
By the time the first commercially successful digital instrument, the Yamaha DX7 (lifetime sales of two hundred thousand), appeared in 1983 ...
1456:
1346:
944:
395:. In 1971, to demonstrate its commercial potential, Chowning used FM to emulate acoustic sounds such as organs and brass. Stanford
597:
With complex submenus displayed on an LCD and no knobs and sliders to adjust the sound, many found the DX7 difficult to program.
1316:
503:
463:
95:
1624:
1570:
1541:
769:
506:, meaning 16 notes can sound simultaneously. It has 32 sound-generating algorithms, each a different arrangement of its six
2362:
678:
1511:
1485:
1223:
1069:
1002:
41:
1597:
1382:
1140:
1108:
1079:
915:
668:
A few musicians skilled at programming the DX7 found employment creating sounds for other acts. The
English musician
2387:
1898:
614:
586:
1250:
622:
2133:
1297:
388:
290:
140:
2392:
1946:
1827:
2382:
1854:
452:
448:
306:
1845:
1836:
1097:
Music in
American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture
260:
in/out/thru, input for foot controller x2, input for foot switch x2, input for optional breath controller
17:
1430:
1991:
1818:
360:
1282:
1809:
1764:
1289:
163:
1751:
1675:
1116:
Yamaha DX synthesizer, the first commercially successful digital synthesizer, in the early 1980s.
994:
954:
455:
higher than
Stanford's synthesizers. Chowning felt this produced a noticeable "brilliant" sound.
1164:
605:
The presets were widely used in 1980s pop music. The "BASS 1" preset was used on songs such as "
511:
416:
1207:
1035:
901:
1587:
1399:
538:
491:
192:
123:
803:
399:
the technology and hoped to license it, but was turned down by
American companies including
1891:
1165:""Should One Applaud?" Breaches and Boundaries in the Reception of New Technology in Music"
1036:"The 14 most important synths in electronic music history – and the musicians who use them"
879:
697:
372:
363:. In later years, the DX7 sounds came to be seen as dated or clichéd and its use declined.
294:
73:
8:
1215:
683:
542:
499:
487:
380:
302:
282:
and is one of the best-selling synthesizers in history, selling more than 200,000 units.
279:
174:
136:
375:(FM), a means of carrying sound, had been understood for decades and was widely used to
1907:
1796:
1184:
701:
626:
444:
426:
411:
392:
286:
275:
145:
54:
2169:
1800:
1732:
1724:
1696:
1649:
1620:
1593:
1566:
1378:
1293:
1219:
1188:
1160:
1136:
1104:
1075:
998:
911:
658:
422:
328:
was proficient at programming his own sounds, and it was instrumental to his work in
317:
836:
2046:
2016:
1955:
1788:
1176:
234:
2340:
2001:
1884:
646:
634:
376:
742:
game console. In 2015, Yamaha released a smaller FM synthesizer, the Reface DX.
661:, 40% of country number ones, and 60% of RnB number ones. The preset imitates a
2350:
1864:
949:
841:
808:
714:
638:
572:
78:
2376:
2345:
2205:
2077:
2006:
1951:
1876:
1819:"The Yamaha DX7 synthesizer's clever exponential circuit, reverse-engineered"
1810:"Reverse-engineering the Yamaha DX7 synthesizer's sound chip from die photos"
1792:
1728:
1653:
1546:
1519:
735:
673:
630:
618:
590:
560:
436:
400:
384:
337:
329:
321:
298:
49:
1736:
2316:
2179:
2138:
2103:
2072:
2056:
1931:
1926:
1180:
739:
719:
662:
642:
564:
459:
341:
203:
153:
83:
1616:
Teaching Electronic Music: Cultural, Creative, and Analytical Perspectives
2300:
2284:
2268:
2252:
2237:
2221:
2189:
2174:
2128:
2123:
2118:
2051:
2041:
2011:
1996:
1986:
1981:
1976:
1941:
1936:
1921:
654:
650:
568:
356:
271:
945:"Sounds of the '80s Part 2: The Yamaha DX1 & Its Successors (Retro)"
447:
chips. At the same time, Yamaha was developing the means to manufacture
2247:
2242:
2184:
2113:
2108:
2098:
1971:
1966:
1680:
1351:
731:
723:
682:. He shared instructions for recreating his patches in a 1987 issue of
606:
555:
527:
479:
466:. They had less than four days to create the DX7's 128 preset patches.
348:
333:
320:. Its electric piano sound was particularly widely used, especially in
110:
1563:
The Techno Primer: The Essential Reference for Loop-based Music Styles
474:
198:
32 patches in RAM (battery backup); front panel ROM/RAM cartridge port
2321:
1071:
Digital Signatures: The Impact of Digitization on Popular Music Sound
907:
762:"Chapter 2: FM Tone Generators and the Dawn of Home Music Production"
669:
507:
419:. In 1975, Yamaha negotiated exclusive rights for the technology.
404:
325:
313:
629:. The "E PIANO 1" preset became particularly famous, especially for
502:
allows for velocity sensitivity and aftertouch. The DX7 has 16-note
693:
531:
439:, who developed the frequency modulation technology used in the DX7
1774:""What makes it sound '80s?": The Yamaha DX7 Electric Piano Sound"
1431:"Sound like Brian Eno with his Yamaha DX7 synth patches from 1987"
657:. In 1986, it was used in 40% of the number-one singles on the US
316:; in 1986, it was used in 40% of the number-one singles on the US
1404:
1212:
Electronic and experimental music: technology, music, and culture
1486:"More synthetic bamboo! The greatest preset sounds in pop music"
1457:"The top 10 classic synth presets (and where you can hear them)"
1347:"The top 10 classic synth presets (and where you can hear them)"
1133:
Refining Sound: A Practical Guide to Synthesis and Synthesizers
1068:
Brøvig-Hanssen, Ragnhild; Danielsen, Anne (February 19, 2016).
495:
396:
128:
6 digital sine wave operators per voice, 32 patching algorithms
105:
2026:
1284:
Analog Days: The invention and impact of the Moog synthesizer
1642:"Super Sonic: creating the new sound of Sega's hedgehog hit"
665:, prompting some to abandon the Rhodes in favor of the DX7.
285:
In the early 1980s, the synthesizer market was dominated by
782:). In recognition of this fact, the DX7 is identified as a
727:
704:
FM8 led to a resurgence in the popularity of FM synthesis.
610:
432:
352:
257:
1196:(Note: the above sales number seems about whole DX series)
672:
learned to program the DX7 in depth and used it to create
478:
The settings buttons include controls for effects such as
391:, a means of using FM to generate sounds different from
1752:"Yamaha DX7 Digital programmable algorithm synthesizer"
1067:
689:
407:. Chowning felt their engineers did not understand FM.
347:
The DX7 was succeeded by FM synthesizers including the
168:
1 pitch envelope & 6 amplitude generators per voice
510:
operators. The DX7 was the first synthesizer with a
1281:
730:. Yamaha manufactured reduced versions of the DX7
2374:
1863:
1251:"Minimoog: The First Truly Portable Synthesizer"
1158:
514:, and the first to allow users to name patches.
1542:"Yamaha's DX7 synthesiser changed modern music"
278:from 1983 to 1989. It was the first successful
1906:
1126:
1124:
1892:
1585:
1088:
688:. Eno used the DX7 on records he produced by
486:Compared to the "warm" and "fuzzy" sounds of
1400:"Native Instruments FM8 – Get Your Synth On"
899:
1701:: CS1 maint: numeric names: authors list (
1279:
1121:
1899:
1885:
1199:
784:Digital Programmable Algorithm Synthesizer
768:. Yamaha Corporation. 2014. Archived from
40:
1837:"Part IV: how algorithms are implemented"
1771:
1762:
1586:Roger T. Dean, ed. (September 16, 2009).
1560:
1152:
1094:
541:, the founder of the synthesizer company
1852:
1843:
1834:
1825:
1816:
1807:
1674:Goldman, Dan 'JD73' (October 13, 2015).
1565:. Hal Leonard Corporation. p. 120.
938:
936:
934:
776:Programmable Algorithm Music Synthesizer
577:
473:
431:
340:, were used in technologies such as the
1765:"The Yamaha DX7 in Synthesizer History"
1673:
1612:
1592:. Oxford University Press. p. 81.
1483:
1130:
14:
2375:
1639:
1397:
1248:
1205:
984:
982:
980:
978:
976:
974:
972:
766:History, Yamaha Synth 40th Anniversary
756:
754:
738:, for use in technologies such as the
425:, the founder of the Japanese company
1880:
1589:The Oxford Handbook of Computer Music
1479:
1477:
1425:
1423:
1341:
1339:
1337:
1311:
1309:
1280:Pinch, Trevor; Trocco, Frank (2002).
1261:from the original on October 19, 2023
1244:
1242:
931:
893:
462:, flew to Japan to develop the DX7's
1435:FACT Magazine: Music News, New Music
1372:
1063:
1061:
1059:
1057:
1040:FACT Magazine: Music News, New Music
1030:
1028:
1026:
1024:
1022:
1020:
1018:
1016:
1014:
988:
942:
873:
871:
869:
867:
865:
863:
861:
859:
834:
830:
828:
826:
801:
797:
795:
633:, and was used by artists including
309:chips to lower manufacturing costs.
1828:"Part III: Inside the log-sine ROM"
1640:Stuart, Keith (February 13, 2020).
1512:"Borne into the 90s [pt.1]"
1509:
1249:Weiner, Sophie (October 20, 2017).
1095:Edmondson, Jacqueline, ed. (2013).
969:
751:
679:Apollo: Atmospheres and Soundtracks
293:, a means of generating sounds via
24:
1712:
1613:Stevens, Blake (August 16, 2021).
1474:
1420:
1334:
1306:
1239:
877:
410:At the time, the Japanese company
25:
2404:
1744:
1719:"Yamaha DX7IID/FD Synthesizers".
1484:Simpson, Dave (August 14, 2018).
1054:
1011:
856:
823:
792:
2025:
1855:"Part VI: the control registers"
1781:Journal of Popular Music Studies
249:pitch-bend and modulation wheels
1808:Shirriff, Ken (November 2021).
1667:
1633:
1606:
1579:
1554:
1534:
1503:
1449:
1398:Biedny, David (February 2007).
1391:
1366:
1273:
943:Reid, Gordon (September 2001).
835:Reid, Gordon (September 2015).
804:"The History Of Roland: Part 2"
593:, uses the DX7 "BASS 1" preset.
1846:"Part V: the output circuitry"
802:Reid, Gordon (December 2004).
366:
13:
1:
745:
707:
377:broadcast radio transmissions
1772:Lavengood, Megan L. (2019).
1763:Lavengood, Megan L. (2021).
1375:Sound Synthesis and Sampling
1255:Red Bull Music Academy Daily
449:very-large-scale integration
307:very-large-scale integration
115:
7:
1135:. Oxford University Press.
903:The computer music tutorial
469:
10:
2409:
2023:
1908:Yamaha musical instruments
1723:. March 1987. p. 30.
1377:. CRC Press. p. 356.
1131:Shepard, Brian K. (2013).
494:. Its keyboard spans five
241:and aftertouch sensitivity
2359:
2330:
2309:
2293:
2277:
2261:
2230:
2214:
2198:
2162:
2091:
2065:
2034:
1914:
1853:— (February 2022).
1844:— (February 2022).
1835:— (December 2021).
1826:— (December 2021).
1817:— (November 2021).
1676:"Yamaha Reface DX review"
548:
371:By the mid-20th century,
332:. Chips based on the DX7
253:
245:
233:
228:
212:
202:
191:
183:
172:
162:
152:
132:
122:
104:
94:
89:
68:
60:
48:
39:
34:
1793:10.1525/jpms.2019.313009
1561:Verderosa, Tony (2002).
1290:Harvard University Press
517:
90:Technical specifications
2388:Polyphonic synthesizers
1865:US Expired 4554857A
995:Oxford University Press
324:. The English producer
1208:"Early Computer Music"
1181:10.1353/tech.2003.0126
1169:Technology and Culture
594:
512:liquid-crystal display
483:
440:
417:monophonic synthesizer
239:61-note with velocity
1373:Russ, Martin (2012).
1206:Holmes, Thom (2008).
957:on September 17, 2011
900:Curtis Roads (1996).
772:on October 23, 2014.
698:software synthesizers
584:
477:
435:
2393:Digital synthesizers
1550:. December 31, 2020.
1216:Taylor & Francis
1099:. ABC-CLIO. p.
1042:. September 15, 2016
589:", a 1986 single by
571:, and took over the
373:frequency modulation
295:frequency modulation
141:frequency modulation
2383:Yamaha synthesizers
1522:on January 28, 2023
989:Vail, Mark (2014).
887:Stanford University
627:Kool & the Gang
500:keyboard expression
488:analog synthesizers
381:Stanford University
379:. In the 1960s, at
303:Stanford University
297:, was developed by
287:analog synthesizers
280:digital synthesizer
184:Velocity expression
2331:Consumer keyboards
1756:Yamaha Black Boxes
1161:Bijsterveld, Karin
702:Native Instruments
676:on his 1983 album
595:
484:
445:integrated circuit
441:
276:Yamaha Corporation
224:envelope generator
146:Additive synthesis
2370:
2369:
1626:978-1-000-41727-2
1572:978-0-634-01788-9
659:Billboard Hot 100
582:
423:Ikutaro Kakehashi
318:Billboard Hot 100
264:
263:
246:Left-hand control
16:(Redirected from
2400:
2363:List of products
2231:MIDI controllers
2029:
1901:
1894:
1887:
1878:
1877:
1873:
1872:
1868:
1858:
1849:
1840:
1831:
1822:
1813:
1804:
1778:
1768:
1759:
1740:
1721:Music Technology
1707:
1706:
1700:
1692:
1690:
1688:
1671:
1665:
1664:
1662:
1660:
1637:
1631:
1630:
1610:
1604:
1603:
1583:
1577:
1576:
1558:
1552:
1551:
1538:
1532:
1531:
1529:
1527:
1518:. Archived from
1507:
1501:
1500:
1498:
1496:
1481:
1472:
1471:
1469:
1467:
1453:
1447:
1446:
1444:
1442:
1427:
1418:
1417:
1415:
1413:
1395:
1389:
1388:
1370:
1364:
1363:
1361:
1359:
1343:
1332:
1331:
1329:
1327:
1313:
1304:
1303:
1287:
1277:
1271:
1270:
1268:
1266:
1246:
1237:
1236:
1234:
1232:
1214:(3rd ed.).
1203:
1197:
1195:
1156:
1150:
1149:
1128:
1119:
1118:
1092:
1086:
1085:
1065:
1052:
1051:
1049:
1047:
1032:
1009:
1008:
986:
967:
966:
964:
962:
953:. Archived from
940:
929:
928:
926:
924:
897:
891:
890:
884:
875:
854:
853:
851:
849:
832:
821:
820:
818:
816:
799:
790:
789:
758:
583:
393:analog synthesis
274:manufactured by
254:External control
44:
32:
31:
21:
2408:
2407:
2403:
2402:
2401:
2399:
2398:
2397:
2373:
2372:
2371:
2366:
2355:
2326:
2305:
2289:
2273:
2262:Music computers
2257:
2226:
2210:
2194:
2158:
2087:
2061:
2030:
2021:
1910:
1905:
1870:
1776:
1750:
1747:
1718:
1715:
1713:Further reading
1710:
1694:
1693:
1686:
1684:
1672:
1668:
1658:
1656:
1638:
1634:
1627:
1611:
1607:
1600:
1584:
1580:
1573:
1559:
1555:
1540:
1539:
1535:
1525:
1523:
1510:Saxelby, Ruth.
1508:
1504:
1494:
1492:
1482:
1475:
1465:
1463:
1455:
1454:
1450:
1440:
1438:
1429:
1428:
1421:
1411:
1409:
1396:
1392:
1385:
1371:
1367:
1357:
1355:
1345:
1344:
1335:
1325:
1323:
1315:
1314:
1307:
1300:
1278:
1274:
1264:
1262:
1247:
1240:
1230:
1228:
1226:
1218:. p. 257.
1204:
1200:
1157:
1153:
1143:
1129:
1122:
1111:
1093:
1089:
1082:
1066:
1055:
1045:
1043:
1034:
1033:
1012:
1005:
991:The Synthesizer
987:
970:
960:
958:
941:
932:
922:
920:
918:
910:. p. 226.
898:
894:
882:
880:"John Chowning"
876:
857:
847:
845:
837:"John Chowning"
833:
824:
814:
812:
800:
793:
760:
759:
752:
748:
710:
647:Luther Vandross
635:Whitney Houston
578:
551:
520:
472:
369:
344:game console.
240:
220:
144:
113:
81:
76:
30:
23:
22:
15:
12:
11:
5:
2406:
2396:
2395:
2390:
2385:
2368:
2367:
2360:
2357:
2356:
2354:
2353:
2348:
2343:
2338:
2334:
2332:
2328:
2327:
2325:
2324:
2319:
2313:
2311:
2307:
2306:
2304:
2303:
2297:
2295:
2291:
2290:
2288:
2287:
2281:
2279:
2275:
2274:
2272:
2271:
2265:
2263:
2259:
2258:
2256:
2255:
2250:
2245:
2240:
2234:
2232:
2228:
2227:
2225:
2224:
2218:
2216:
2212:
2211:
2209:
2208:
2202:
2200:
2196:
2195:
2193:
2192:
2187:
2182:
2177:
2172:
2166:
2164:
2160:
2159:
2157:
2156:
2151:
2146:
2141:
2136:
2131:
2126:
2121:
2116:
2111:
2106:
2101:
2095:
2093:
2089:
2088:
2086:
2085:
2080:
2075:
2069:
2067:
2063:
2062:
2060:
2059:
2054:
2049:
2044:
2038:
2036:
2032:
2031:
2024:
2022:
2020:
2019:
2014:
2009:
2004:
1999:
1994:
1989:
1984:
1979:
1974:
1969:
1964:
1959:
1949:
1944:
1939:
1934:
1929:
1924:
1918:
1916:
1912:
1911:
1904:
1903:
1896:
1889:
1881:
1875:
1874:
1861:
1860:
1859:
1850:
1841:
1832:
1823:
1805:
1769:
1760:
1746:
1745:External links
1743:
1742:
1741:
1714:
1711:
1709:
1708:
1666:
1632:
1625:
1605:
1598:
1578:
1571:
1553:
1533:
1502:
1473:
1448:
1437:. May 12, 2017
1419:
1390:
1383:
1365:
1333:
1305:
1298:
1272:
1238:
1225:978-0415957816
1224:
1198:
1175:(3): 536–559.
1159:Pinch, T. J.;
1151:
1141:
1120:
1109:
1087:
1080:
1053:
1010:
1004:978-0195394894
1003:
997:. p. 59.
968:
950:Sound on Sound
930:
916:
892:
855:
842:Sound on Sound
822:
809:Sound on Sound
791:
749:
747:
744:
734:, such as the
715:Sound on Sound
709:
706:
573:electric piano
550:
547:
519:
516:
471:
468:
383:, California,
368:
365:
336:, such as the
262:
261:
255:
251:
250:
247:
243:
242:
237:
231:
230:
226:
225:
214:
210:
209:
206:
200:
199:
196:
189:
188:
185:
181:
180:
177:
170:
169:
166:
160:
159:
156:
150:
149:
134:
133:Synthesis type
130:
129:
126:
120:
119:
108:
102:
101:
98:
92:
91:
87:
86:
70:
66:
65:
62:
58:
57:
52:
46:
45:
37:
36:
28:
9:
6:
4:
3:
2:
2405:
2394:
2391:
2389:
2386:
2384:
2381:
2380:
2378:
2365:
2364:
2358:
2352:
2349:
2347:
2344:
2342:
2339:
2336:
2335:
2333:
2329:
2323:
2320:
2318:
2315:
2314:
2312:
2308:
2302:
2299:
2298:
2296:
2292:
2286:
2283:
2282:
2280:
2276:
2270:
2267:
2266:
2264:
2260:
2254:
2251:
2249:
2246:
2244:
2241:
2239:
2236:
2235:
2233:
2229:
2223:
2220:
2219:
2217:
2213:
2207:
2204:
2203:
2201:
2199:Effects units
2197:
2191:
2188:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2168:
2167:
2165:
2163:Drum machines
2161:
2155:
2152:
2150:
2147:
2145:
2142:
2140:
2137:
2135:
2132:
2130:
2127:
2125:
2122:
2120:
2117:
2115:
2112:
2110:
2107:
2105:
2102:
2100:
2097:
2096:
2094:
2090:
2084:
2081:
2079:
2076:
2074:
2071:
2070:
2068:
2064:
2058:
2055:
2053:
2050:
2048:
2045:
2043:
2040:
2039:
2037:
2033:
2028:
2018:
2015:
2013:
2010:
2008:
2005:
2003:
2000:
1998:
1995:
1993:
1990:
1988:
1985:
1983:
1980:
1978:
1975:
1973:
1970:
1968:
1965:
1963:
1960:
1957:
1953:
1950:
1948:
1945:
1943:
1940:
1938:
1935:
1933:
1930:
1928:
1925:
1923:
1920:
1919:
1917:
1913:
1909:
1902:
1897:
1895:
1890:
1888:
1883:
1882:
1879:
1866:
1862:
1856:
1851:
1847:
1842:
1838:
1833:
1829:
1824:
1820:
1815:
1814:
1811:
1806:
1802:
1798:
1794:
1790:
1786:
1782:
1775:
1770:
1766:
1761:
1757:
1753:
1749:
1748:
1738:
1734:
1730:
1726:
1722:
1717:
1716:
1704:
1698:
1683:
1682:
1677:
1670:
1655:
1651:
1647:
1643:
1636:
1628:
1622:
1619:. Routledge.
1618:
1617:
1609:
1601:
1599:9780199887132
1595:
1591:
1590:
1582:
1574:
1568:
1564:
1557:
1549:
1548:
1547:The Economist
1543:
1537:
1521:
1517:
1513:
1506:
1491:
1487:
1480:
1478:
1462:
1458:
1452:
1436:
1432:
1426:
1424:
1407:
1406:
1401:
1394:
1386:
1384:9781136115103
1380:
1376:
1369:
1354:
1353:
1348:
1342:
1340:
1338:
1322:
1318:
1312:
1310:
1301:
1295:
1292:. p. 6.
1291:
1286:
1285:
1276:
1260:
1256:
1252:
1245:
1243:
1227:
1221:
1217:
1213:
1209:
1202:
1194:
1190:
1186:
1182:
1178:
1174:
1170:
1166:
1163:(July 2003).
1162:
1155:
1148:
1144:
1142:9780199376681
1138:
1134:
1127:
1125:
1117:
1112:
1110:9780313393488
1106:
1102:
1098:
1091:
1083:
1081:9780262034142
1077:
1074:. MIT Press.
1073:
1072:
1064:
1062:
1060:
1058:
1041:
1037:
1031:
1029:
1027:
1025:
1023:
1021:
1019:
1017:
1015:
1006:
1000:
996:
992:
985:
983:
981:
979:
977:
975:
973:
956:
952:
951:
946:
939:
937:
935:
919:
917:0-262-68082-3
913:
909:
905:
904:
896:
888:
881:
878:Darter, Tom.
874:
872:
870:
868:
866:
864:
862:
860:
844:
843:
838:
831:
829:
827:
811:
810:
805:
798:
796:
788:
785:
781:
777:
771:
767:
763:
757:
755:
750:
743:
741:
737:
733:
729:
725:
721:
717:
716:
712:According to
705:
703:
699:
695:
691:
687:
686:
681:
680:
675:
674:ambient music
671:
666:
664:
660:
656:
652:
648:
644:
640:
636:
632:
631:power ballads
628:
624:
620:
619:Kenny Loggins
616:
612:
608:
603:
600:
592:
591:Kenny Loggins
588:
576:
574:
570:
566:
565:metallophones
562:
561:tubular bells
558:
557:
546:
544:
540:
537:According to
535:
533:
529:
524:
515:
513:
509:
505:
501:
497:
493:
489:
481:
476:
467:
465:
461:
456:
454:
453:sampling rate
450:
446:
438:
437:John Chowning
434:
430:
428:
424:
420:
418:
413:
408:
406:
402:
398:
394:
390:
386:
385:John Chowning
382:
378:
374:
364:
362:
358:
354:
350:
345:
343:
339:
335:
331:
330:ambient music
327:
323:
322:power ballads
319:
315:
310:
308:
304:
300:
299:John Chowning
296:
292:
288:
283:
281:
277:
273:
269:
259:
256:
252:
248:
244:
238:
236:
232:
227:
223:
219:operator chip
218:
215:
211:
207:
205:
201:
197:
194:
190:
186:
182:
179:Yes (channel)
178:
176:
171:
167:
165:
161:
157:
155:
151:
147:
142:
138:
135:
131:
127:
125:
121:
117:
112:
109:
107:
103:
99:
97:
93:
88:
85:
80:
75:
71:
67:
64:May 1983–1989
63:
59:
56:
53:
51:
47:
43:
38:
33:
27:
19:
2361:
2092:Workstations
1961:
1915:Synthesizers
1787:(3): 73–94.
1784:
1780:
1755:
1720:
1685:. Retrieved
1679:
1669:
1659:February 14,
1657:. Retrieved
1646:The Guardian
1645:
1635:
1615:
1608:
1588:
1581:
1562:
1556:
1545:
1536:
1524:. Retrieved
1520:the original
1515:
1505:
1493:. Retrieved
1490:the Guardian
1489:
1464:. Retrieved
1460:
1451:
1439:. Retrieved
1434:
1412:December 13,
1410:. Retrieved
1408:. p. 84
1403:
1393:
1374:
1368:
1356:. Retrieved
1350:
1324:. Retrieved
1320:
1317:"Dave Smith"
1283:
1275:
1263:. Retrieved
1254:
1229:. Retrieved
1211:
1201:
1192:
1172:
1168:
1154:
1146:
1132:
1114:
1096:
1090:
1070:
1044:. Retrieved
1039:
990:
959:. Retrieved
955:the original
948:
921:. Retrieved
902:
895:
886:
846:. Retrieved
840:
813:. Retrieved
807:
783:
779:
775:
773:
770:the original
765:
740:Sega Genesis
726:, DX11, and
713:
711:
684:
677:
667:
663:Rhodes piano
643:Phil Collins
604:
598:
596:
554:
552:
536:
530:sold 12,000
525:
521:
485:
460:Yamaha CS-80
457:
442:
421:
409:
389:FM synthesis
370:
346:
342:Sega Genesis
311:
291:FM synthesis
284:
267:
265:
229:Input/output
222:YM2129 (EGS)
217:YM2128 (OPS)
114:Bi-timbral (
50:Manufacturer
26:
2215:Grooveboxes
1687:February 2,
1495:October 19,
1466:October 19,
1441:October 19,
1358:October 19,
1326:October 20,
1321:KeyboardMag
1265:October 19,
1046:October 19,
848:October 19,
815:February 5,
708:Successors
655:Celine Dion
651:Billy Ocean
615:Danger Zone
587:Danger Zone
569:harpsichord
367:Development
272:synthesizer
173:Aftertouch
111:Monotimbral
29:Synthesizer
18:Yamaha DX-7
2377:Categories
2278:Sequencers
1947:CS30/CS30L
1681:MusicRadar
1461:MusicRadar
1352:MusicRadar
1299:0674008898
746:References
732:sound chip
607:Take On Me
599:MusicRadar
556:MusicRadar
543:Sequential
539:Dave Smith
498:, and the
492:transients
480:portamento
387:developed
334:sound chip
268:Yamaha DX7
175:expression
164:Attenuator
148:(alg. #32)
124:Oscillator
106:Timbrality
35:Yamaha DX7
2322:Clavinova
2047:MU Series
2017:Tenori-on
1801:203055819
1729:0957-6606
1654:0261-3077
1189:132403480
908:MIT Press
670:Brian Eno
508:sine wave
504:polyphony
405:Wurlitzer
326:Brian Eno
314:pop music
96:Polyphony
82:¥248,000
2341:PSR-E323
2066:Samplers
2002:PSR-E323
1737:24835173
1697:cite web
1526:June 14,
1259:Archived
961:June 29,
700:such as
694:Coldplay
685:Keyboard
575:market.
567:and the
532:Minimoog
470:Features
397:patented
235:Keyboard
213:Hardware
100:16-voice
72:$ 1,995
2351:VSS-200
2337:PSR-550
2149:Montage
2035:Modules
1405:MacLife
1231:June 4,
923:June 5,
639:Chicago
621:, and "
496:octaves
401:Hammond
204:Effects
193:Storage
139:linear
137:Digital
77:£1,495
2346:VSS-30
2310:Pianos
2294:Organs
2206:D-1500
2078:VSS-30
2007:SHS-10
1952:Reface
1871:
1799:
1735:
1727:
1652:
1623:
1596:
1569:
1381:
1296:
1222:
1187:
1139:
1107:
1078:
1001:
914:
736:YM2612
549:Impact
464:voices
427:Roland
412:Yamaha
338:YM2612
195:memory
154:Filter
116:DX7 II
55:Yamaha
2317:CP-70
2180:RX-11
2154:Genos
2144:Tyros
2139:YS200
2104:Motif
2083:A3000
2073:TX16W
2057:TX81Z
1992:DX100
1932:CS-80
1927:CS-15
1797:S2CID
1777:(PDF)
1185:S2CID
883:(PDF)
720:TX81Z
625:" by
623:Fresh
617:" by
609:" by
518:Sales
361:DX100
270:is a
69:Price
61:Dates
2301:GX-1
2285:QY10
2269:CX5M
2253:WX11
2238:KX-5
2222:RM1x
2190:PTX8
2175:RX-5
2129:SY99
2124:SY85
2119:SY77
2052:TG77
2042:FS1R
2012:SY22
1997:GX-1
1987:DX27
1982:DX21
1977:DX11
1942:CS2x
1937:CS1x
1922:AN1x
1733:OCLC
1725:ISSN
1703:link
1689:2020
1661:2020
1650:ISSN
1621:ISBN
1594:ISBN
1567:ISBN
1528:2023
1497:2018
1468:2018
1443:2018
1414:2023
1379:ISBN
1360:2018
1328:2018
1294:ISBN
1267:2023
1233:2011
1220:ISBN
1137:ISBN
1105:ISBN
1076:ISBN
1048:2018
999:ISBN
963:2011
925:2011
912:ISBN
850:2018
817:2020
780:PAMS
728:DX21
692:and
653:and
611:A-ha
528:Moog
403:and
359:and
357:DX27
353:DX21
266:The
258:MIDI
208:none
158:none
2248:WX7
2243:WX5
2185:TMX
2170:DTX
2134:V50
2114:S90
2109:S80
2099:EX5
1972:DX9
1967:DX1
1962:DX7
1789:doi
1516:DMY
1177:doi
1101:398
724:DX1
613:, "
349:DX1
301:at
187:Yes
84:JPY
79:GBP
2379::
1956:CS
1795:.
1785:31
1783:.
1779:.
1754:.
1731:.
1699:}}
1695:{{
1678:.
1648:.
1644:.
1544:.
1514:.
1488:.
1476:^
1459:.
1433:.
1422:^
1402:.
1349:.
1336:^
1319:.
1308:^
1288:.
1257:.
1253:.
1241:^
1210:.
1191:.
1183:.
1173:44
1171:.
1167:.
1145:.
1123:^
1113:.
1103:.
1056:^
1038:.
1013:^
993:.
971:^
947:.
933:^
906:.
885:.
858:^
839:.
825:^
806:.
794:^
764:.
753:^
722:,
690:U2
649:,
645:,
641:,
637:,
563:,
355:,
351:,
289:.
74:US
1958:)
1954:(
1900:e
1893:t
1886:v
1857:.
1848:.
1839:.
1830:.
1821:.
1812:.
1803:.
1791::
1767:.
1758:.
1739:.
1705:)
1691:.
1663:.
1629:.
1602:.
1575:.
1530:.
1499:.
1470:.
1445:.
1416:.
1387:.
1362:.
1330:.
1302:.
1269:.
1235:.
1179::
1084:.
1050:.
1007:.
965:.
927:.
889:.
852:.
819:.
778:(
585:"
482:.
143:/
118:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
